Choose two passages that reflect the theme of religion in the novel, Dracula.

In the passage, from pages 163 to 164, we see a contrast between the unhesitating Van Helsing and Seward, who finds himself in quite a mix up. The word unhesitating suggests the diligence and attentiveness of Van Helsing is as keen as ever, and his focus remains steadfast. However, the usually levelheaded Seward is seen as quite a confused character, gathering tension in him, which is also felt by the reader. The confusion felt by Seward is also reflected in the semi colon which indicates a pause in his thoughts as he realises he is not feeling his usual self. The mounting tension continues, as Seward repeats seeing fewer and fewer people, and then expresses surprise as seeing the police, adding the phrase usual round suggesting that the group are at a stage where even usual happenings cause mild fear amongst them, this further increases the tension. There is a hint of relief as he says At last we reached the wall of the churchyard, and the words at last imply that the journey was an uncomfortable one for Seward. The visit to the tomb draws on mythic traditions of visiting the underworld and appeals directly to the Victorian preoccupation with spiritualism, the possibility of communication with the dead. Spiritualism sances and mediums were extremely popular in Victorian England. The great enthusiasm and curiosity in attempting to make contact with the dead was seen across all classes but was most vigorously pursued in the wealthier sections of society. Spiritualism was a revival of medieval superstitions under the influence of American social trends in the mid nineteenth century, and many so-called mediums were later exposed as charlatans. Places of death are powerfully atmospheric and have a special totemic significance in the literature of most cultures. The contrast between light and dark is seen when Van Helsing strikes a match to light a candle, illuminating the gloomy tomb. Seward goes onto describe how the tomb even in the daylight with its fresh flowers had been grim and gruesome enough, suggesting that no amount of light and pleasantries can make a place of death and decay a warming environment, just as no amount of light from Van Helsings candle will make the task they are there for any easier. In Sewards description he describes the time-discoloured stone, and dust-encrusted mortar, and rusty, dank iron, and tarnished brass, and clouded silver-plating, all objects of strong resistance and strength paralleled to the resistance of the evil they are fighting. Seward ends this description with a resigned feel, saying the effect was more miserable and sordid than could have been imagined. This bleak and desolate feel only serves to add to the tension of what lies ahead, in dampening the questing men. Van Helsing went about his work systematically shows that Helsing is undertaking a crude and almost offensive task. It builds mystery upon his background as it raises the suspicion if Helsing has done this numerous times, enough to be doing it systematically. Van Helsing is once more shown as a diligent worker, as he relentlessly persists on his mission, furthering the excitement of the reader as Seward steps back, fearing what is to come. He describes how Van Helsing never stopped for a moment; The semi colon suggests a moment of thought for Seward, as if he is respecting the industrious Professor, and pauses the scene momentarily before it builds to its next climax. This climax comes with two short sentences: I drew near and looked. The coffin was empty. These sentences, taking the form of a new paragraph, leave the slightest pause before revealing the shocking truth to both Seward and the reader. The book suggests a hesitancy and disbelief in Seward as to what he sees, which in turn, is felt by the reader. Leading on from this the confrontation between the Professor and the defiant Seward is broken up as each man thinks, something the book implies in phrases such as, But how do you how can you account for it not being there? The use of dashes and semi colons implies the psychological battle that is going on between these two learned men, leading the reader to wonder quite what they are thinking of and this progresses the scene to a deeper level. After the men leave the tomb there is, to some extent, a release of tension built up. However, it could be seen more as a plateau, for the next passage to pick up from. This literary device is mirrored in the plot, as one quest builds to a climax and concludes, but only ever leads onto the next mission; such is the nature of their fight against evil. Stoker uses the mens slow realisation of the dangers they must confront as a device to control and maintain suspense over the next few chapters. He creates a wealth of incidents that will

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demonstrate again how their misplaced discretion, their mistaken confidence in the extent of human knowledge and their unwitting ignorance will leave them all vulnerable. The underlying theme that unites these scenes is one of the centrality of faith. If these characters are to succeed, they must overcome their unwillingness to believe in things that challenge any form of rational belief. They must abandon reason to gain hope. In chapter 22, (pages 246 to 247) Jonathan Harker writes that Mina has told him their faith in God is being tested. Helsing suggests that Mina may be a possible threat to them in which she declares that if necessary, she will kill herself, if I find in myselfa sigh of harm of any that I love. This is ironic seeing that committing suicide is against the codes of Christianity. Furthermore, as warned by Helsing, if she were to die, it will only speed the process of her becoming a vampire. She becomes the groups motive in destroying Dracula, whereas before they were compelled through their sense of duty as protectors of the innocent from their unsuspected nemesis. Mina provides a concrete symbol of what the men are fighting for, the original purpose of ridding Dracula was to avenge Lucy, this has now transformed to a desperate need in saving Mina. The counter-attack phase of the novel is now moving into action. Mina acquires the mark of shame on her forehead that links her to Dracula in several ways. This devils mark, though caused by a holy symbol, reminds us of the notion of Antichrist and is an outward symbol of her possession. Dracula also has a mark on his forehead, given by Jonathan Harker in his failed assault in the chapel of Castle Dracula. Stoker in a way, subtly suggests that there is perhaps, not much a great difference between a hero and a villain. This reflects in the scene where Mina shows pity towards Dracula later in the novel. Forgiving the monster that has destroyed her friend and her own happiness elevates Mina almost to the rank of sainthood. There is also the fact that Van Helsing becomes an openly religious guide to them all in his moment of crisis. Jonathan comments that Van Helsing speaks so gravely that I could not help feeling that he was in some way inspired. Having been the sage, Helsing now becomes the priest as they all kneel in front of him kissing his hand, praying for guidance and swearing loyalty to each other. In todays society, the idea of a religious crusade is of great significance, and the novel explores the psychological mindsets of those that undertake these crusades. It is often difficult to emphasise with those who carry out acts in the name of religion, and Stoker highlights the just cause that the group believe they are fighting for. The concept of good and evil are just as evident in todays society as they were in the time of the novel, and the gothic themes of fear, and in particular the fear of a greater power such as religion holds, still ring true in modern times. In a time where religion and the reliance upon religion as a means to live by is dwindling in many cases, the fellowship and camaraderie along with the reliance upon God that is seen in the men is perhaps a foreign concept to the modern reader, and Stoker clearly presents the salvation of Christianity in a good light.

Dracula